]]>Gaming tech is advancing at such a rate that it’s a pretty safe assumption that today’s generation will be oblivious to the real lifeblood behind Jackson Stewart’s directorial debut Beyond the Gates (review). Co-writer Stephen Scarlata’s original pitch was clearly inspired by one of the ’90s guiltiest of pleasures, the VCR game Nightmare, which featured the dodgiest of dialogue and most outlandish of insults yet went on to spawn a whole new wave of new wave board games. And whilst those who shared a nerdy penchant for the game way back when will most likely relate that much more to Stewart’s love letter, those of you with a lack of appreciation for said ’90s fad will be hopping straight onto eBay in search of the long-revered board game as soon as Beyond the Gates’ credits roll.

With the film all set to release this December 9th in select theaters, on VOD, and via digital platforms, we adjusted the tracking and rolled the dice with Barbara Crampton when she paid a visit to this year’s SITGES International Fantastic Film Festival of Catalonia to present the film and also pick up an honorific Time Machine Award….

DC: You’re here in Sitges to collect the Time Machine Award in honor of your life achievements. One thing is to receive an award for one particular role, but this particular award must obviously mean so much more.

BC: It’s just overwhelming. Also, I’m in really good company with the other guests the festival have invited for awards this year. These are some wonderful actors that I have long admired. It just makes me feel that I have made a contribution in a way that makes people feel something. And then genre cinema is really meaningful to me. In my early career, I worked as an actor whenever anybody would ask me: I’ve worked in commercials and movies of the week and genre cinema and soap operas. I’d worked a few times with Stewart Gordon of course, but it was only really more recently – when I came back with You’re Next – that I decided that I really loved genre cinema. It’s full of passion, deep emotions, universal truths and living, dying and loving. It has such depth to it. Because of that, and because I had such a great time filming You’re Next, I realised I wanted to rededicate myself to my career and genre cinema in general.

DC: So what was your outlook on life and your career before the You’re Next opportunity came knocking?

BC: I was being a mom. In my late thirties, I wasn’t getting a lot of roles so I began thinking about not acting anymore and maybe going into a different profession. Then I met my husband and we decided to get married and he got transferred with his job and asked me if I would move from Los Angeles to San Francisco. It was important for his career so I agreed and then we wanted to start family and because of my age we had to start right away. Thankfully, I was able to have children right away – I had two, back to back. And then I just concentrated on being a mom for a number of years and really didn’t think I was going to work in genre cinema any more or even be an actress. I was working as a volunteer at my children’s school, helping with the PTA and things like that. And then I got called out of the blue to act for You’re Next and I was surprised my agent hadn’t lost my number (laughs).

DC: Ultimately who was behind bringing you into the mix for You’re Next and helping resurrecting your career?

BC: That was the writer and producer, Simon Barrett. He had met Stuart Gordon at Fantastic Fest a number of years ago and he said, “We’re doing this movie and we need a genre actress to play the Mom. What’s Barbara Crampton doing?” He said that I’d retired but thank God Simon didn’t take no for an answer and he tried to reach out anyway. Any time somebody asks me, I feel that if he hadn’t asked me to be in that movie and the movie hadn’t done as well as it did, I don’t think I would be sitting here with you now. And it was so inspiring to be on set with all those talented people. It was like magic to me and it reignited my passion. I didn’t know if that film was going to do well or not but I told me agent to call me again and to keep submitting me for things because I wanted to work again. I got a couple of calls but not as much as I did until after the movie came out and did really well. It ended up on everybody’s radar and soon I was on people’s radars and they started saying, “Oh, Barbara Crampton! She’s not dead. We can call her.”

DC: Aside from receiving an award here at Sitges, you’re also here with director Jackson Stewart and actress Brea Grant to present Beyond the Gates.

BC: That’s right. Initially really I had been working on – and I’m still working on – a movie called The Wildness that’s going into production in February. In the middle of that, Jackson – who I had known as he had worked as an intern for Stuart Gordon – saw that I was a producer on The Wildness and called me and asked me to read his movie. Jackson is just such a charming guy. Now that you’ve met him here in Sitges I think you know what I’m talking about. So when you meet him, you feel like he’s your best friend in about five minutes.

I was quite busy back then and I hadn’t gotten around to reading it but when he finally pinned me down he said, “Look, I’ve gotten most of the money together and we’re going to shoot in about a month and I really want you to work on the movie as a producer.” He had done a few shorts and this was his first feature and he was a young guy so I really wanted to help him. When I finally read the script, I loved it. It’s really his personality: It’s charming; it’s cool; it has some darker elements but told in a fun way. It’s just a charming love letter to ’80s horror with new characters and some updates for a modern audience. And I loved the relationship of the two brothers who are estranged from one another and looking for their dad. Movies to me, and especially genre movies because of all the scares and blood, have to have a foundation and good characters and I felt like this had all that.

So initially I was just going to help him produce it and be a financer and they shot some footage with another gal who was going to play the part that I ultimately play. To no fault of hers, the footage didn’t turn out very well and they had to do some reshoots for it. At that time, the actress was out of town so they asked me to play that part. And when I’d read the script initially I’d wanted to play the part. But, since it didn’t work with her, I stepped in and I was totally happy. I feel for the project that it probably worked out very well anyway because I’m kind of ’80s and this has a throwback ’80s feel so it all worked out.

DC: So you recorded these scenes before the protagonists even started shooting. Chase Williamson, Graham Skipper and Brea Grant told me that to help them you read them a letter before they got to work.

BC: That’s very interesting that they remember that actually. I did write a letter to them and I read it at our cast reading. As an actor I know that you want to feel appreciated and loved and you want to feel like a family. So I wrote them a nice letter just telling them how much I thought of their work and that I already knew they were going to put in a great performance so they don’t need to try any harder on this movie than they do on other movies. I already believed in them and I wanted them to feel like they were embraced and loved because that’s something that I would want to hear. As a physical producer on the movie I just wanted them to know that I was there for them. I guess that helped them but, like you said, they acted to me on a television screen because I film all of my stuff beforehand. I was the one that just shot my stuff and Jackson played their parts and he told me what to say and what the other actors were saying and I had to react to them. But I think it all worked out. We did actually have to go back and do some additional footage with me and also with the other actors because in the film there’s a story happening and then there’s the playing of the game. It was the playing of the game where we had to do a little bit of extra work because, once we’d shot the movie, we realized we needed to make that part a little bit clearer. So we did all get to see one another and we were able to go back and work on it in a deeper way. I think that was helpful because we were then able to work off of one another.

DC: One of your more recent roles is in Joel Novoa’s Day of Reckoning.

BC: I was very excited about that which screens on SyFy whilst I’m here in Sitges. There’s a lot of special effects and VFX in there and we have a lot of creatures so we had to react to things that weren’t there that they put in later. We had to shoot a lot of what they call plates so that they could insert the monsters later.

DC: I’m guessing that, despite the years you’ve been in the business, working with CGI was a newish challenge for you as most of your roles have been in films that mostly involve practical effects.

BC: Yes. Pretty much all my work with effects has been practical. It just meant you had to use your imagination a little bit more. But it’s funny because sometimes even when you’re doing a closeup with somebody on a set, if the actor can’t be there for some reason they’ll put a piece of tape close the the lens and they say, “Look at the tape and those are the eyes of the character you’re talking to.” I’ve had to act to a piece of tape a lot because the actor can’t get close enough or they’re going to be in the way of the focus puller or something so I guess it’s probably not that different. It’s always better to have another person there but I was quite excited to do something that was a lot of VFX so it will be interesting to see how that all plays out because I haven’t seen the film yet.

Apart from that I have a bunch of things happening. I have a role in Death House soon and then I also have another film I did with Brea Grant called Applecart which I’m really excited about. That was produced by Don Coscarelli and directed by Brad Baruh.

Beyond the Gates opens this December 9th in select theaters (see list below), on VOD, and via digital platforms from IFC Midnight. In the meanwhile, roll those dice and enjoy the latest trailer together with a mind-melting retro commercial which finds Crampton resuming her role, this time enticing a new (but very familiar) ill-fated group of players to roll those dice: Alex Essoe (The Neighbor, Starry Eyes), Samantha Robinson (The Love Witch), and Alena von Stroheim (Found Footage 3D).

]]>http://www.dreadcentral.com/editorials/201623/interview-let-barbara-crampton-take-beyond-gates-beyond/feed/0Titan’s Nightmare Before Christmas: Day 4 – Tom Mandrake’s Process for Creating The Mummy #5 Coverhttp://www.dreadcentral.com/news/202848/titans-nightmare-christmas-day-4-tom-mandrakes-process-creating-mummy-5-cover/
http://www.dreadcentral.com/news/202848/titans-nightmare-christmas-day-4-tom-mandrakes-process-creating-mummy-5-cover/#respondFri, 09 Dec 2016 14:30:18 +0000http://www.dreadcentral.com/?p=202848It’s time for another entry in our “Nightmare Before Christmas” feature, which we’re presenting in conjunction with Titan Comics, and today we have a doozy for you! Artist Tom Mandrake shares his process for creating the cover for The Mummy… Continue Reading →

]]>It’s time for another entry in our “Nightmare Before Christmas” feature, which we’re presenting in conjunction with Titan Comics, and today we have a doozy for you! Artist Tom Mandrake shares his process for creating the cover for The Mummy #5, which is the final issue in the series that hails from Titan and Hammer.

Mandrake tells us, “My inspiration for this cover comes from a couple sources. First, this may be stating the painfully obvious, but I am a huge Hammer movie fan! Hammer’s Blood from the Mummy’s Tomb is a primary source of inspiration for this cover. I first saw the film in the early ’70s, and this is my homage to Valerie Leon as Queen Tera in her sarcophagus [pictured below].”

“I’ve played with the idea of the ‘peek in the sarcophagus’ before,” he continues, “and my cover for Martian Manhunter #25 was in my mind as well. Aside from these reference points the cover needed its own character and horror. I thought perhaps it was not enough that she was about to be trapped forever in her tomb; she should share it eternally with these decaying, nightmare lovers as well!”

The Mummy is written by Peter Milligan with art by Ronilson Freire. Check out Tom’s artwork below, and be sure to check back over the weekend as we wrap up “Nightmare Before Christmas” on Saturday and Sunday.

The Mummy Series Synopsis:For 2,000 years the members of the Sect of Anubis have prolonged their life spans through human sacrifice and the enslavement of an Egyptian High Priestess cursed to walk the afterlife for all eternity. On one night every 30 years the Sect must offer up a human vessel to house the spirit of Nebetah so that they can kill her and drink her blood, thus granting them immortality. But this year they have chosen the wrong vessel, and she’s not going willingly…

]]>http://www.dreadcentral.com/news/202848/titans-nightmare-christmas-day-4-tom-mandrakes-process-creating-mummy-5-cover/feed/0Last Day For The Friday The 13th Jason Voorhees Christmas Box Of Dread Seventh Boxhttp://www.dreadcentral.com/news/202884/last-day-friday-13th-jason-voorhees-christmas-box-dread-seventh-box/
http://www.dreadcentral.com/news/202884/last-day-friday-13th-jason-voorhees-christmas-box-dread-seventh-box/#respondFri, 09 Dec 2016 14:15:47 +0000http://www.dreadcentral.com/?p=202884TGIF! It’s Friday and not the 13th but it is the last day you can become a Box of Dread acolyte and be eligible for this month’s Friday The 13th Jason Voorhees Christmas Box of Dread Seventh Box! As usual only one active Box of… Continue Reading →

This Jason Voorhees Christmas Box of Dread Seventh Box prize package in December comes with a Jason Voorhees prop replica mask from Friday the 13th Part 5: A New Beginning as well as very limited edition Derek Mears as Jason Voorhees photograph signed in gold.

Only ONE Box of Dread acolyte would be receiving this Jason Voorhees Christmas Box of Dread Seventh Box prize package.

You have until 11:59pm ET on December 9th, 2016, to sign up. Remember, you need to be an active Box of Dread acolyte to be eligible to win this Jason Voorhees Christmas Box of Dread Seventh Box prize package in December 2016.

Hurry… the deadline to sign up for the Jason Voorhees Christmas Box of Dread is 11:59 pm ET on December 9th, 2016. That is when we will pick the winner of this month’s Seventh Box.

You can become a Box of Dreadacolyte at:Did you miss out on previous months’ Box of Dread? We still have a few available. We also have our exclusive enamel pins available for purchase at the Box of DreadStore.

For even more pictures and videos, check out Box of Dread on Social Media!

]]>With all the Americans moving to Canada in the wake of Trump’s victory, now seems like a great time to support our buddies up north. Director Pressly Parrish’s horror Red Hollow (official website) is seeking some extra cash via an Indiegogo campaign,, which promises “enough gore to make gorehounds cringe.”

The film stars Natalie Buckley as Carley, a young woman who returns to her home town after her mother has fallen ill. Unbeknownst to Carley, the town has fallen under the thumb of a sinister rising evil that has begun killing off the locals, and she soon finds herself at the centre of it all.

Banding together with a mysterious newcomer (Jackie Kobsar), Carley and her former friends race to uncover the horrific truth about the town’s going ons and come to a polarizing discovery. If they can’t put a stop to the grisly situation soon, no one will make it out of Red Hollow alive.

Red Hollow is being independently produced by Canadian filmmaker Pressly Parrish, the film’s writer and director. Alongside an up & coming horror genre cast, Red Hollow boasts an incredible departure from the average cinematic experience with some solid punches that will leave it’s audience breathless.

PII Productions has launched their Indiegogo campaign and are searching for some support to help provide a great new cinematic experience.

]]>http://www.dreadcentral.com/news/202600/red-hollow-promises-enough-gore-make-gorehounds-cringe/feed/0Adam Green and ArieScope Get Horrified AGAIN!http://www.dreadcentral.com/news/202886/adam-green-ariescope-get-horrified/
http://www.dreadcentral.com/news/202886/adam-green-ariescope-get-horrified/#respondFri, 09 Dec 2016 00:35:44 +0000http://www.dreadcentral.com/?p=202886Adam Green just released the details for Season 2 of his original series “Horrified,” and it’s brimming with big names. Read on for details and a teaser trailer. Artists from all sides of the entertainment industry share their most horrifying… Continue Reading →

]]>Adam Green just released the details for Season 2 of his original series “Horrified,” and it’s brimming with big names. Read on for details and a teaser trailer.

Artists from all sides of the entertainment industry share their most horrifying personal stories in this confessional-style series hosted by Corri English (“Holliston,” Marvel’s “Luke Cage”).

From mortifying embarrassments to comical moments of humility to truly terrifying real life encounters… “Horrified” is part comedy, part horror, and full-on therapy. With 22 episodes per season, the best part is that you never quite know what kind of story you’re going to get as “horrified” can mean so very many different things.

]]>http://www.dreadcentral.com/news/202886/adam-green-ariescope-get-horrified/feed/0You Found Me Teaser Trailer Locatedhttp://www.dreadcentral.com/news/202879/found-teaser-trailer-located/
http://www.dreadcentral.com/news/202879/found-teaser-trailer-located/#respondFri, 09 Dec 2016 00:11:24 +0000http://www.dreadcentral.com/?p=202879Word’s come across our desks that the new indie flick from Lawrence W. Nelson II, entitled You Found Me, has found a home with Green Apple Entertainment. Look for the movie in the summer of 2017. Taya Parker, Diana Prince,… Continue Reading →

Synopsis:When Stacy’s (Parker) abusive ex-husband, Jason (Izay), gets out of prison, she decides to take their daughter, Lizzie (Brannan), and her four best friends to her parents’ beach house. Soon their peaceful plans turn into a nightmare. Who will survive the night?

Watching Vamp (1986), it’s hard to imagine it didn’t make some impression on Robert Rodriguez and Quentin Tarantino when it came time to script From Dusk Till Dawn (1996). Plot specifics aren’t quite so parallel, but the meat of both stories is “people go to a strip club and discover all of the employees are vampires who feast on their patrons”. I’m not suggesting RR & QT ripped their idea wholecloth from Vamp or anything, but to suggest it played a part in influencing the overall story doesn’t seem like too great a stretch. Vamp even has its own Satanico Pandemonium in the form of someone crazier than a fanged-out Salma Hayek: Grace Jones (side note: where the hell has she been for the past decade?). Instead of a couple crazy, tough guy brothers, though, we get an odd yet complementary comedic duo comprised of Robert Rusler and Chris Makepeace. The plot is thin and at times a bit aimless, but the word of the day here is “fun” and Vamp is nothing if not that.

Keith (Chris Makepeace) and AJ (Robert Rusler) are a couple of college kids looking to join a fraternity. As pledges, they’re nearly invisible and viewed as worthless, but when the brothers of their chosen house are looking to party the two best buds get a bright idea: strippers. They’ll be kings of the castle if they can show up to a frat party with some hot ass in tow, so they quickly strike a deal to essentially “buy” their way into the group despite having no connections whatsoever to any strippers. Keith and AJ enlist the aid of Duncan (Gedde Watanabe), a rich kid loner who happens to own a car, and the three head off into downtown in search of a seedy strip club.

They find one alright, run by a couple of sweaty Italians and highlighted by Queen Katrina (Grace Jones), who puts on a strip show that is more performance art than voluptuous visuals. Everyone in the club is drawn to her bizarre, primal dancing. The boys think she’s perfect. While Keith chills on the showroom floor, AJ decides to pay Katrina a visit in her dressing room, intent on recruitment. His plans go awry when she seduces him, biting into his neck and draining him dry. Keith, meanwhile, makes a new friend in Amaretto (Dedee Pfeiffer), one of those “stripper with a heart of gold” types. She and Keith finally track down AJ and find him – dead. The cops are called, and they actually show up, but by this time AJ has flipped to the fang side and he appears totally fine. A bit paler but same as ever. Unlike the rest of the bloodsuckers keeping Keith trapped, AJ sticks by his buddy, but with an army of the undead both inside and outside the club Keith and Amaretto don’t have many avenues for escape.

This film didn’t gain much traction in theaters, and at best it has attained a minor cult following since that release, but it fits in surprisingly well with most of the early ‘80s more popular pictures – specifically the output of John Hughes. The humor is just a couple notches below Hughes’ comedies, and the casting feels similar, too. It doesn’t hurt that Rusler co-starred in Weird Science (1985), one of Hughes’ most popular titles; or that Gedde Watanabe will be inexorably linked to Sixteen Candles (1984) in perpetuity. Rusler handles the in-your-face/sarcastic humor, while Chris Makepeace – he of My Bodyguard (1980) and Meatballs (1979) fame – is the amiable straight man. The interplay between the two is genuine and you get a nice sense of their camaraderie.

Grace Jones is a weird woman. She was Lady Gaga before there was Lady Gaga, well known for sporting outlandish outfits and oozing all sorts of intense, intimidating sexuality. Her strip tease in Vamp is pure Jones, her unique sense of eroticism and fashion on full display. She doesn’t say a single word for the entire run time which, given her penchant for visual assault above all else, seems fitting.

Vamp is a breezy ‘80s urban adventure that is easy to watch even if it isn’t entirely memorable. Vampire comedies have been done plenty, with this one falling somewhere in the middle. Rusler and Makepeace are an unlikely leading duo, but thanks to some screen charisma and chemistry they’re able to hold interest just as well as anyone else in those roles. There is a good amount of wheel spinning script-wise once the second act starts in, and I wouldn’t exactly say the picture finishes strong since the climax can be seen coming from space, but, again, in the pantheon of vampiric comedies this is a welcome entry that fans of neon-drenched ‘80s-era horror should dig.

The visuals look very good thanks to the film’s 1.85:1 1080p transfer. Arrow isn’t touting any new scan or restoration, so this is likely the existing HD master used on their previous edition, with some minor tweaking in the color department. Grain is largely consistent but there are some moments when it comes through thick. Colors are a bit drab, looking (fittingly?) drained at times, though the neon lights of downtown’s shadier spots do seem to pop nicely. Daylight scenes shine the brightest, with the best examples of fine detail and definition to be seen. The print used here is in excellent condition, with no signs of damage or dirt.

There isn’t much to crow about as far as the audio is concerned. An English LPCM 1.0 mono track carries all of the requisite noise – dialogue, sound effects, score, source music – none of which comes with any sort of deficiency. Dialogue is loud and clear, the effects have a good sense of weight to them, and music tracks register with strength. Subtitles are available in English SDH.

The new U.S. edition of Vamp includes a few new bonus features, though it also drops a handful of extras that were found on Arrow’s U.K. release, meaning you’ll have to hang on to your older copies if you want it all.

“One of Those Nights” is a lengthy making-of retrospective, featuring interviews with all of the main principals save for Jones, who is strangely absent. I mean, it’s not that unusual she’d opt out of something like this but it would’ve been nice to hear her thoughts after all this time.

A short reel of rehearsal footage is included, shot on camcorder.

“Dracula Bites the Big Apple” is a 1979 short film directed by Richard Wenk.

A blooper reel, TV spots, two trailers, and an image gallery are also included. First pressings include a booklet, featuring essays on the film and still photos.

Special Features:

High Definition digital transfer

Original mono audio

Subtitles for the deaf and hard of hearing

One of those Nights: The Making of Vamp – a brand new documentary featuring interviews with director Richard Wenk, stars Robert Rusler, Dedee Pfeiffer, Gedde Watanabe

]]>http://www.dreadcentral.com/reviews/202800/vamp-blu-ray/feed/0Rob Zombie Talks Unmade Movieshttp://www.dreadcentral.com/news/202868/rob-zombie-talks-unmade-movies/
http://www.dreadcentral.com/news/202868/rob-zombie-talks-unmade-movies/#respondThu, 08 Dec 2016 23:22:15 +0000http://www.dreadcentral.com/?p=202868Rue Morgue Magazine just posted an interview with Rob Zombie, in which the rocker-turned-filmmaker talks about the various projects he’s been attached to over the years from Tyrannosaurus Rex to The Crow to The Blob. Which of the above movies… Continue Reading →

]]>Rue Morgue Magazine just posted an interview with Rob Zombie, in which the rocker-turned-filmmaker talks about the various projects he’s been attached to over the years from Tyrannosaurus Rex to The Crow to The Blob.

Which of the above movies would you have loved to have seen from Zombie? Sound off in the comments section below, and even if the answer is “None of the above,” tell us what you’d like to see him do instead. A Reject‘s prequel? A Joe Grizzly movie?

]]>http://www.dreadcentral.com/news/202868/rob-zombie-talks-unmade-movies/feed/01 DAY until Lucio Fulci’s ZOMBIE #3!http://www.dreadcentral.com/news/202284/1-day-lucio-fulcis-zombie-3/
http://www.dreadcentral.com/news/202284/1-day-lucio-fulcis-zombie-3/#respondThu, 08 Dec 2016 20:53:11 +0000http://www.dreadcentral.com/?p=202284We’re counting it down!! ONE DAY TO GO!!! The innovative, mind-blowing comic series based on the classic Lucio Fulci film ZOMBIE continues this FRIDAY at 7PM (PST), ONLY AT eibonpress.com! In just 4 DAYS, pre-orders begin for issue #3, which… Continue Reading →

The innovative, mind-blowing comic series based on the classic Lucio Fulci film ZOMBIE continues this FRIDAY at 7PM (PST), ONLY AT eibonpress.com! In just 4 DAYS, pre-orders begin for issue #3, which will blow your mind and eat your face! Be there early because these always sell fast, kids!

]]>http://www.dreadcentral.com/news/202284/1-day-lucio-fulcis-zombie-3/feed/0Four Variant Covers Revealed for Titan’s Anno Dracula #1http://www.dreadcentral.com/news/202841/four-variant-covers-revealed-for-titans-anno-dracula-1/
http://www.dreadcentral.com/news/202841/four-variant-covers-revealed-for-titans-anno-dracula-1/#respondThu, 08 Dec 2016 20:37:23 +0000http://www.dreadcentral.com/?p=202841Earlier this week we shared the cover and a few interior pages from Issue #1 of Titan’s new Anno Dracula comic as part of our “Nightmare Before Christmas” series, and now we’re back with a peek at four variant covers!… Continue Reading →

]]>Earlier this week we shared the cover and a few interior pages from Issue #1 of Titan’s new Anno Dracula comic as part of our “Nightmare Before Christmas” series, and now we’re back with a peek at four variant covers!

Anno Dracula Release Details:Titan Comics is releasing an all-new comic series based on the bestselling ANNO DRACULA novels, written by creator Kim Newman with art by Paul McCaffery (The Third Doctor).

The Anno Dracula novels (review) depict an alternate 19th-century history where the characters of Bram Stoker’s Dracula fail to prevent Count Dracula’s subjugation of Great Britain, creating a world where vampires are living amongst humans and a central part of society. The series also features characters including Jack the Ripper, Professor Moriarty, and Van Helsing.

Kim Newman is a critic, author, and broadcaster. He writes the Anno Dracula series of horror novels, which was first published in 1992. Newman has written four Anno Dracula novels to date, as well as short stories.

Anno Dracula Issue #1 arrives March 22, 2017.

Synopsis:1895. Prince Dracula has ruled Great Britain for ten years, spreading vampirism through every level of society. On the eve of Dracula’s Jubilee, radical forces gather to oppose the tyrant. Kate Reed, vampire journalist and free-thinker, takes a seat on the revolutionary Council of Seven Days, though she learns that the anarchist group harbors a traitor in its midst. The Grey Men, Dracula’s dreaded secret police, have been ordered to quash all resistance to the rule of the arch-vampire. With intrigue on all sides, the scene is set for an explosive addition to the Anno Dracula series.